Psycho. US () | Psychothriller, Whodunit. GoodFellas - Drei Jahrzehnte in der Mafia. Dom Cobb (Leonardo DiCaprio) ist der beste Extraktor, den man bekommen kann. In den Träumen seiner Opfer fahndet er nach Wirtschaftsgeheimnissen.
Top 100 - Thrillerselect-s.com › filme › beste › genre-thriller. Dom Cobb (Leonardo DiCaprio) ist der beste Extraktor, den man bekommen kann. In den Träumen seiner Opfer fahndet er nach Wirtschaftsgeheimnissen. Film ab! Millennium-Klassiker. Das Jahrtausend hat nicht einmal 20 Jahre auf dem Buckel, das Genre aber schon einiges, was unter Klassiker.
Top Filme Thriller Shallow Grave (1994) Video10 Filme THRILLER
Lediglich Ndr Fernsehen De Videoportale Youtube und Dailymotion bieten Top Filme Thriller Filme online im Anaglyphen-Verfahren als Download an. -Peppermint - Angel of Vengeance - Originaltitel: Peppermint. The best Psychological Thriller Movies by pwheeler90 | created - | updated - | Public This list comprises my top psychological thriller movies. Filme de genul thriller. si o combinatie de mister, suspans, horror. Stiu ca sunt muuuuulte in aceste categorii, dar aceasta lista e pentru filmele „rasarite„, filme bune, peste nota 5. The 21 Best Thrillers of (So Far) By Bianca Rodriguez. Aug 6, Warner Brothers/Amazon Studios/STX Films. The film that was supposed to come out two years ago. Top 20 Greatest Suspense/Thrillers of All Time (The Ultimate List) by ChrisWalczyk55 | created - | updated - | Public The movies on this list are ranked according to their success (awards & nominations), their popularity and their greatness from a directing/writing perspective. List of the latest thriller movies in and the best thriller movies of & the 's. Top thriller movies to watch on Netflix, Hulu, Amazon Prime, Disney+ & other Streaming services, out on DVD/Blu-ray or in cinema's right now. · Oto najlepsze thrillery wszech czasów! Dobry thriller to taki, który potrafi prowadzić pewien klimat niepokoju, a to, co się dzieje na ekranie, zamraża nam krew w żyłach i wykręca opony mózgowe. Razem z członkami redakcji Movies Room zebraliśmy 50, . Neues von M. Kriegsfilm Ereignisdokumentation 2.
Three Edinburgh flatmates McGregor, Christopher Eccleston and Kerry Fox interview for someone to take their spare bedroom, eventually landing on the mysterious Hugo.
But Hugo suddenly dies, and leaves behind a suitcase with a gigantic stack of cash in it. What do the flatmates do with a corpse and a fortune on their hands?
They get rid of the former and keep the latter, obviously. And, just as obviously, their choice means the walls start to close in around them.
It's a brilliantly claustrophobic and taut watch. Bill Duke's noirish tale of a drugs cop who goes undercover in Los Angeles to get inside a cocaine ring is built around a brooding performance from Laurence Fishburne as officer Russell Stevens Jr and a lugubrious but flinty turn by Jeff Goldblum as David Jason.
That's the man who becomes Stevens' self-appointed attorney when he gets deep into the cartel, not the beloved elder statesman of British sitcoms. It's all about split loyalties and shifting identities, and the theme song, by Dr Dre and an extremely young Snoop Dogg, is a banger.
A bungled bank robbery turns into a fiasco of a hostage-taking in Sidney Lumet's classic heist-without-the-heist film. In an attempt to get money for his trans partner's gender affirmation surgery, Sonny Wortzik Al Pacino and Sal Naturale John Cazale, in his third collab with Pacino following the first two Godfather films try to hold up a bank.
Unfortunately, their third man runs off, and they turn up after all the money's been picked up. In a panic, they try to rustle up an on-the-hoof hostage situation.
As things get more and more out of hand, Sonny turns into an unlikely countercultural folk hero. This might be the definitive Pacino performance: his Sonny is desperate and wild and out of his depth, but his deeply decent and caring nature is always close to the surface.
In Lumet's hands, Dog Day Afternoon as much a character piece as it is a thriller, as Sonny and Sal's incompetent attempts to make it big quickly fall apart.
There are many pitfalls that come with shooting a mid-century film noir in the here and now. The genre — if you see it as such — relies on well-trodden conventions and tropes, and the directors who abide by them can too often veer into pastiche.
Confidential is the opposite. Based on the novel of the same name by James Ellroy, the greatest and by extension, most nihilistic crime scribe of our age, L.
Confidential digs into the deep-seated corruption of the Los Angeles Police Department of the early s. It was beaten to a few Oscars by Titanic but its popularity has endured.
Ellroy is still approached by fans declaring their fondness for the film. His response? Did you go out and buy the book? WATCH HERE.
Instead, sometimes despite its best intentions, violence is glorified, collective backlash is endorsed, and Brad Pitt is topless, providing toxic masculinity with a timelessly cool mascot.
But however you think its messages have aged over the years, Fight Club is still one of the most important and impactful films of the past century.
Surveillance expert Harry Caul does a routine job for a client, tailing a couple in a noisy San Francisco park. It's all pretty inconsequential, but one snippet of conversation won't leave him alone.
The couple are in trouble, and he needs to come out of the shadows to help — or so he thinks. Impressionistic but gritty, poetic but cold-blooded, this is Francis Ford Coppola's other masterpiece of , though as important as the direction is the way Caul's garbled recordings are reflected in David Shire's glitchy, oppressive electronic score.
Probably the most straightforward Spike Lee joint of all Spike Lee's joints, this heist thriller is still more tricksy and witty than most. A New York bank is held up by a gang of men all calling themselves variants on 'Steve', who set about dressing their hostages as painters and decorators, exactly like them.
They set about smashing through the floor — but what are they really after? The would-be thieves' motives turn out to be a lot more upstanding than your average cash-grab, and the cast — Denzel Washington, Chiwetel Ejiofor, Jodie Foster, Willem Dafoe — is top notch.
The silently staged half-hour heist scene is still thrilling 65 years on, and is as much of a daring high-wire act in its execution as the plan to steal the jewels itself is.
In fact, it was so beautifully planned and executed that it inspired actual, real-life heists. The trouble is, they'll need to pinch it from inside the boss's own house.
This is a slower burn than some other thrillers here, and one that will reward your patience. Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Carrie Coon star, with Liam Neeson, Daniel Kaluuya and Robert Duvall among the support.
John Carpenter's second film, a low-budget exploitation flick which followed gangland rioters in Los Angeles who attack a police station in the hope of taking out some officers, was an R-rated flop on release.
But it gradually became a cult hit thanks to the things which would become Carpenter's trademarks: the invasion of an apparently unstoppable force; splenetic violence with an undercurrent of sly wit; and an absolutely belting soundtrack from Carpenter himself.
Less a straightforward thriller than a feverish, hallucinatory minute trip into the subconscious. Engineer and sound effects expert Gilderoy travels to Italy to work on a film about horses, but instead finds it's a giallo horror being made by an overbearing producer and an unnervingly exuberant director.
We never see this apparently horrifying film, but director Peter Strickland lovingly catalogues the mechanics behind the camera.
Don't go into it expecting to be guided by the hand — in fact, try not to expect a conventional plot at all — and just let it absorb you.
The Safdie Brothers — Josh and Benny — showed that they had the vision and unique tone to make an all-time great crime thriller with 's brilliant Good Time.
Its follow-up, Uncut Gems , might very well prove to be that movie. The killer moment: A psychopath practices his abduction techniques, even going so far as to chloroform an imaginary victim in his passenger seat.
But the undertones are grotesque and still challenging: a story of sexual exploitation, murder, manipulation and state-sanctioned cruelty.
You, I don't even like. But as it skitters toward that epic denouement, you can only marvel at the elemental power Mann conjures from his simple story of cop Al Pacino and robber Robert De Niro.
The killer moment: Two titans of crime movies, Pacino and De Niro, meet for the first time onscreen: an elegantly simple diner chat loaded with subtext.
Director John Boorman, had only made one feature — a breezy vehicle for the Dave Clark Five. The killer moment: The granddaddy of hallway scenes has Marvin striding through a nondescript office.
His heels echo hypnotically and Boorman takes off, cutting away from the action but never losing that forward momentum. Poor thing.
Wait until you see this guy, wheeling out of a dark corner with a canned laugh. Taking place over the course of a single night, this grim story of a murder plan gone awry holds us rapt, thanks in large part to the glamorous yet weary visage of screen legend Jeanne Moreau.
Hitchcock rated this blackly comic suburban thriller as one of his very best, and who are we to argue? The killer moment: In a sweltering office filled with the sound of crickets, the gun goes off.
Excruciatingly we watch dark red trickle down a white shirt. This Martin Scorsese-produced, Stephen Frears-directed black comedy is one of the strongest adaptations of his work.
John Cusack plays the lunk in question, a con-man who thinks he can get one over on his own mother, played with delicious savagery by Anjelica Huston.
Based loosely on actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity.
The sequel is every bit as good. The film is bolstered by a number of high-strung set pieces; its combination of slasher-flick imagery, political intrigue and tragedy is intoxicating.
Pure panache and an admitted inspiration on such nobodies as Jim Jarmusch, Walter Hill and John Woo, Jean-Pierre Melville's cryptic thriller channels an almost abstract sense of fate and beauty.
At its core is actor Alain Delon's hitman: trenchcoat-clad, chiseled, a dude of few words. He glides through the film as if doomed; there's not an inch of fat on this plot, which never get sentimental, only colder and more aggressively on target.
The killer moment: Delon's assassin cruises on and off several Metro lines, even jumping a moving walkway to shake several different pursuers. The guy is smooth.
In his most honest and heartfelt performance, the late Bill Paxton plays Dale Dixon, a small-town sheriff who dreams of escaping to the city.
The killer moment: The opening home invasion is still shocking in its offhand brutality. The main accusation leveled at Bigelow — that she condoned the use of torture in her depiction of the hunt for Osama bin Laden — is hardly borne out in a deeply unmisty-eyed look at U.
Only Welles could pull off this literal fracturing of the image so confidently. The allegedly Buddhist opening epigraph is fake writer-director Jean-Pierre Melville simply made it up , but the sense of Zen purity that runs through this flawless French heist movie is wonderfully convincing.
As lean and meticulous as Japanese calligraphy, this is precision-tooled filmmaking. The killer moment: The silent robbery sequence is a minute master class in sustained tension.
Mercifully, it happens off-screen. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, who went on to many more films and even a TV series.
The killer moment: Is Michael Redgrave the original Ethan Hunt or what? Villeneuve mounts spectacular set pieces the convoy sequence, shot by the great Roger Deakins, is a pulse-pounding standout , while also painting a bleaker picture of the lawless badlands than even Trump can muster.
Brian De Palma burnishes his Hitchcock fixation to a high sheen in this supremely confident New York City-set thriller, which features something of a surrogate character for the director himself: a teenage tech whiz Keith Gordon obsessed with cameras and spying devices who's bent on avenging the unsolved murder of his glamorous mother Angie Dickinson.
Trans movies have come a long way since this one. The killer moment: It's one of De Palma's purest sequences of total craft: a wordless flirtation between two strangers at the Metropolitan Museum of Art actually shot in Philly that becomes a missed connection, a painful rejection, then a chase.
The dramatic world of ballet is fertile ground for an exploration of professional jealousy and obsession. The killer moment: Warring prima donnas grapple in an intense, shape-shifting fight scene.
With such over-the-top delirium, who could ever think of ballet as prissy? Huge respect is also due to leading man Guy Pearce, who at times seems to be holding the whole project together through sheer force of will.
Where is Linda Fiorentino these days? Watching her sleek seductress Bridget double-cross an abusive husband and manipulate her naive small-town boy toy with a playful shrug is a turn-on in itself.
Jane Fonda gives an iconic performance as Bree, a prostitute who finds herself involved in a missing-person case being investigated by the titular detective Donald Sutherland.
The killer moment: Late at night, Bree lies in bed as her phone rings and rings, and the camera zooms out slowly. Never discount our need to laugh, especially when thrillers are involved.
Nick and Nora Charles — crime-busting couple, doting dog owners and constant drinkers — are two of the wittiest creations to ever grace the genre.
William Powell and Myrna Loy were never better than they were in this film and its sequels. The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways.
One river. Two canoes. Four manly men well, three and Ned Beatty on a rural getaway that goes dark fast.
This is a film that explores the wholesale destruction of natural spaces, the ignorant superiority of city folk, the brutal beauty of the American landscape.
But return to the scene for its uneasy menace, lingering just under the music. Humphrey Bogart is a Dixon Steele, a tempestuous screenwriter who may have committed a murder in this Hollywood-set slice of noirish excellence.
Dixon and his neighbour turned lover, Laurel Gloria Grahame , make for a compelling and tricky pair, and the fog of moral ambiguity that surrounds them keeps us on our toes until a dramatic final twist.
I died when she left me. I lived a few weeks while she loved me. As Hitchcockian as ultra-chic blondes come, the rough-edged murder suspect Catherine Tramell made Sharon Stone an ageless star overnight.
With her husband Sam Neill stranded on a distant sinking boat, our flame-haired heroine gets resourceful, with plenty of shocks along the way.
The killer moment: Husband and wife, each in an unstable vessel, attempt to communicate by radio and every word, barely heard, could be their last.
Advice: If a pair of preppy strangers appears at your door asking to borrow some eggs, turn them away. Haneke truly believes in indicting our bloodlust; he remade this film, shot for shot, with Naomi Watts in It also made a huge star out of Clint Eastwood, hardened into iconic fury.
Director Fritz Lang dispenses with his anti-Nazi allegories to craft a byzantine story in which the not-so-good doctor Wolfgang Preiss has every room in a hotel under surveillance.
A high-angle shot isolates the suddenly motionless car. Its essential theme — the need to seek the truth — exemplifies the chaotic, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption.
The killer moment: Right-wing thugs in a truck speed toward a circle of protestors and beat a peaceful politician with a club.
Warren Beatty plays a crusading reporter who takes a deep dive into a secret organisation of political assassins; unwittingly, he has no idea how much they'd like to welcome him among their ranks.
The killer moment: Beatty's Joe Frady goes for an interview: He's led to a screening room where, Ludovico-style, he's subjected to one of the most radical silent montages ever presented by a Hollywood film.
Two men meet, entirely by chance. The result is witty, strange and endlessly fascinating. The thrills here leave a high body count, but are tempered by a sizable dose of existentialism, and the reliably great Isabelle Huppert brings welcome mischief to the role of a young mistress.
Quentin Tarantino tipped his hat to these villains — Mr. Fight Club Inception The Silence of the Lambs Shutter Island The Prestige Psycho Cidade de Deus Reservoir Dogs Sleepers The Devil's Advocate What Ever Happened to Baby Jane?
Prisoners Primal Fear The Game Law Abiding Citizen Le locataire Le salaire de la peur The Sixth Sense Gone Girl The Usual Suspects The Butterfly EffectEngineer and sound effects expert Gilderoy travels to Italy to work on a film about horses, but instead finds it's a giallo horror being made by an overbearing producer and an unnervingly exuberant director. Wyspa tajemnic Shutter Island It's all pretty inconsequential, Die Erbschaft Episodenguide one snippet of conversation won't Johnny English 2 him alone. The cuckoo clock. Based loosely The Flash Season 2 Stream actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity. I lived a few weeks Joseph Bologna she loved me. Its essential theme — the need to seek the truth — exemplifies the Patrick Bach, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption. The Exorcist director William Friedkin's South American odyssey tanked Tagebuch Einer Kammerzofe Trailer release — partially thanks to Star Wars coming out at the same time — but it's since enjoyed a renaissance. Three Edinburgh flatmates McGregor, Christopher Eccleston and Kerry Fox interview for someone to take their spare bedroom, eventually landing on the mysterious Hugo. What Ever Happened to Baby Jane? The shoe is just about Top Filme Thriller drop. Labirynt Prisoners